


^** J'^^. ^'^^S '^^^^^^ "^^S J''^^. ^^K*' '^^^^'' 











^o..*-Tr;-» j>' t^.^^TiTo'^^' 



















^ ♦♦,1* AT ^^ *«,o' 






As: 



Hoiju to ivork "^'^fi 

3b 7 



Embroidery 



Stitches 



A Practical Method with 

69 Illustrations 



Sold in the United States '- Printed 

only by MILLS & GIBB by CARTIER-BRESSON 

NEW-YORK PARIS (France) 

Copyright 1909 by Cartier-Bresson. 






CARTIER-BRESSON'S Collection 



Works already publishkd : 

1" How to make Irish Crochet Lace (/'' Albiuji) 

A Practical Method with 

57 IHustrations 

2° How to make Baby Irish Crochet Lace-{2"-' Albiini 
5 I Illustrations 



\ J 



ecu 



116 



What is required for 'Embroidery 



The Needle. — The needles gcnerall}' used for embroidery are 
sliorter than the sewing needles, the e3'e should be long and smooth. 
The real embroideiy needle (crewel) has a very long eye like 
the needle used for tapestry, but with a point. 

The size of the needle should be chosen according to the 
cotton emplo3'ed. 

It should be a little larger than the cotton so that it can be 
threaded easily and prepare a sufticient passage in the material. 

When the needle is too tine it is not easy to thread and when 
pulling the needle through you feel a resistance when 3'ou get to 
the beginning of the cotton. The thread breaks 
after having been ravelled, and on that account 
it is often thought that the cotton is not of a strong 
quality while this is onh' a result of a bad choice 
of the needle. 

Embroidery Cotton. — The cotton is of a ver\' 
gi-eat importance, as the beauty of the work de- 
pends mostl}' of its qualit}'. The Colon a Brodej' 
BrillanleC-B a la C7\iix. is all that can be desired as for its quality. 
Its regularity, its suppleness and its brightness which lasts in 



CARTIER-BRES30N,, 



25 

^^e(^es-22^'A* 



X 




spite of a great man}^ washings makes it agreable to work with 
and with it you may obtain beautiful embroider}-. 

The Carticr-Brcssou " Cross" mark is universally known and 
appreciated. 

The Colon a Brodcr Brillante a. la Croix can be had in N'^'" 8, 
12, 16, 20, 25, 3o, 35, 40,45, 5o and 60. 

The skeins measure 22 yards. 

The skein of embroideiy cotton should never be wound or 
made into a ball . 

Cut the skein af both ends and that way your needlefuls are 
of a convenient length. The skein may be plaited so as it will 



not get entangled; anyway to prevent it from getting soiled or 
dull it can be wrapped up in a white paper cover leaving both ends 
out so as to pull the needlefuls as they are needed. 

The Scissors. — Small pointed and sharp scissors are used. 
The end should be very sharp so that you ma}' cut into the 
material with precision. 

To cut out the different kinds of embroider}^ follow the edge 
of scalloped buttonholing, special scissors with a small lentil on 
one of the points are used. This small lentil is placed imderneath 
so as not to cut into the material. 

The Styletto. — A styletto is necessary for eyelet work. It 
should be very pointed and smooth so as not to fra}^ the material 
when put through. 

Oil-Cloth. — The work which is to be embroidered is usually 
drawn out on a tirm lining so as not to pucker the material when 
working the stitches tightly. 

Oil-cloth has the inconvenience of sticking, not onh' on the 
tingers but on itself wdien it is folded while working. Glazed 
calico is used or more often plain white paper folded once or 
several times to make a thick lining. 

To baste the work use according to its thickness a rather 
fine cotton so as not to spoil the material. 

Transfer of the designs. — The design to be carried out is 
usually printed on a piece of material, it is often bought already 
printed, but you may transfer the design yourself by different 
processes. 

The easiest to our mind is to trace out and then transfer with 
coloured transfer paper. 

On transparent paper trace out the design required, then 
between the material and the design, place the transfer paper. 
Arrange the whole so that they will not move, with drav^^ing pins, 
then follow the outlines ot the design which is traced out whith a 
pencil or a point of some kind so that the coloured part of the 
transfer paper will come off on the material giving all the lines of 
the design. 

When the design is to be repeated several times (for instance 
when working initials) it is advisable to use the following 
process : 

With a design traced out on transparent paper and using a 
very fine needle stick it through one or several thicknesses of fine 
and resistant paper, sticking very closely. This having been 
done on the wrong side, then placed in the desired position pass 
over the surface a pad, dipped in coloured powder w hich comes 
olf on the matei-ial tracinii out the outlines. 



4 — 



EMBROIDERY 

THE STITCHES 

Some of the stitches used in embroidery are the same that 
are used in phiin needlework. 

It is the way the stitches are arranged which modifies the 
effect . 

It is impossible to give fixed rules as for crochet or knitting 
for mstance. However the general principle may be given that 
the length of the stitches varies according to the material used. 

The stitches should always be worked loosely enough so as 
not to set in loops, and tightlv enough so as not to pucker the 
material. 

Generally, short needlefuls should be used even when large 
spaces are to be covered. 

Never make a knot in embroidery, a few stitches on the wrong 
side will be hidden by the embroidery. When the needleful is 
finished, work a few stitches under the work which has just been 
done or where the embroider\' is to be continued. 

These general principles will not be repeated. 



Outli 



ning 



Fig. I 



When beginning a piece ot embroidery, work the outline, 
following exactly the design with sinall running stitches, taking 
very little of the material, so that they show very little on the 
wrong side. 

The outline should always be done exactl}', otherwise, the 
design would be deformed. 

The same cotton is generall}' used as for embroider}'; some- 
times a little coarser cotton is used but only when the work is 
not fine. 



Filling in 




Fig. 2 



Between the lines of the outlines work going one way and 
back, long running stitches, set alternately and repeat as often as 
necessar}'' for the desired relief. 



Straight cord like Stitch 




Straight cord like stitch is worked from left to right over a 
simple or double outline according to the more or le-ss round 
effect desired. The vertical stitches are worked side bv side 
putting the needle in vertically. 

Oblique cord-like stitch is worked in a similar wa}', but the 
stitches should be slanting towards the right. Put the needle in 
from right to left inserting it above the outline and bringing it 
out under it. 



Stitching 



Fig. 4 

When the back stitches are taken one into the other, it is 
called stitching. It is worked from right to le("t on a continuous 
line. When the stitches are distant from one another it is called 
rice stitch. They should be done pretty evenly, it is better to 
work them in straight lines. The stitches are horizontal oi- 
oblique as shown in the illustration. 



Crewel Stitch 




Fig. 5 



There are a great many wa3's of working crewel-stitch, the result 
being about the same, that is wh}' many workers are confused. 

However some ways are quicker than others. 

The stitches are always worked on a simple line. 

As a rule the way the thread is twisted should be noticed so as 
to work the stitch in the same direction, that is to say : if the 
cotton is twisted from left to right you should put the needle in 
on the left and vice versa. That way the stitches are twisted in 
the same direction. 

Crewel stitch is ver}^ easy to work on condition that the rules 
are followed exactly. 



Crewel stitch it worked on the traced line passing The needle 
from right to left, starting again from where vou have put the 
needle in previously so that the stitches are double. 



<:§=> 



Outline Stitch 



"^~ 



\ 



--^ ^4.-^—^ -^^-i**4j^j 




KiG. () 



This stitch is worked as the previous one with the difference 
that the needle coming out at the previous stitch is put in a little 
to the left so that the stitch is more twisted. 

These stitches on the wron^ side form back stitches. 



^S- 



Stem Stitch 




,,..«..."«».. i'>».''^. 



,7^. -.-fto -■■*•- -^Vr 



IMG. 7 

It is a crewel stitch in which the last stitch goes hali beyond 
the stitch worked previously. 

On the wrong side the stitches do not meet, leaving between 
each the length of a stitcli. 

— 8 — 



Running Stitch 




Fig. 8 



This stitch is used a great deal for the kinds of work which 
should be quickh' done. 

Over the outline a long running stitch is done, then the thread 
left loose is covered by overcasting stitches, that is to say by 
passing the needle across in the stitches. To cover larger spaces 
several overcasting stitches are worked into very long stitches. 



Overcasted back Stitching 




Fig. 



To work letters on plain articles this stitch is very suitable. 

Trace out the letter by working with white cotton, loose back 
stitches, then use red cotton for overcasting the back stitches. 
The stitches should be even and the needle should only pass once 
in each back stitch without taking the material. 

This kind of embroidery is done in two colours, usually the 
back stitches in white and overcasted in red, sometimes vice 
versa. 



Laced back Stitching 




Fig. io 

Following the outline work loose hack stitches; then with a 
second needleful pass the needle in the nearest stitch going from 
right to left, in the following stitch pass from left to right. 

Work this variety of stitch in two colours. 

If 3'ou pass again the second needleful working the stitches 
alternateh', both sides of the back stitch are trimmed and it makes 
another kind of stitch. 



Couching 




Couching is used for filling in or for outlines. 

Two threads are required, one coarse or several strands are 
used, the other one hne. 

After having passed the coarse thread to bring it from the 
wrong side to the right put it down on the line which is to be 
followed. With a finer thread work over it and top-sew with a 
straight stitch. 

Do not draw the foundation cotton too tightly. Sometimes 
the same shade of cotton is used but of another material, more 
often this stitch is worked in two colours. 



Buttonholing 




Fig. 12 

Buttonholing is worked from left to right. The thread is- 
placed outside of the outline and held down under the left 
thumb. Put the needle in above the space where the work is to be 
done, bring it out underneath going through the loop held down 
under the thumb. Then draw the stitch tightl}^ being careful 
not to pucker the material. 

All the stitches in real buttonholing arc worked alike, ver\' 
evenly and as close to each other as possible. 

The design shows various buttonholing more or less spaced 
and of different heights. They are used then as an ornament. 
They are fancy stitches. They are worked in the same way bur 
set further apart. 



Double back Stitch 



'j5??^^ 



Fig. 1 3 



It is simply worked by making two back stitches in the same 
holes, the needle passing the same way twice. 



Double back Stitch with French knots 



i 




^ ' V ■ ^. . : 'Ph 



Fig. 14 

When the needle has been inserted in the place where the 
french knot is to be made, place the needle where the thread 
comes out and by taking some of the material it is kept in place. 
Then put the left thumb under the point of the needle, twist the 
thread two or three times round the needle, then placing the 
thumb on the threads which have Just been twisted push the 
needle and the rest of the needleful through the material. Push 
the knot with the nail of the right hand, then insert the needle 
close to the stitch. 

This stitch is often worked without putting the needle through 
the material before twisting the thread. In this case it should 
be held tightly with the left hand. The result is the same 
liowever. 



Bullion knots 




Fig. 1 3 



Bullion knots arc worked almost in the same way as french 
knots, the result being quite diiferent however. 

The illustration shows different kinds of this stitch. It is 
used to work rapidly small leaves or tiowers. 

To work a leaf put the needle in at one end of the leaf, then 
bring it out at the other end, drawing it onh' onehalf of its length. 

Put the left thumb on the eye of the needle while twisting 
the thread round the needle with the right hand as often as 
required to cover the space which is to be trimmed. 

Put the left thumb on the twists to hold them well and push 
the needle and the rest of the needleful through them always 
holding them in place. To work this stitch a real embroidery 
needle should not be used, the eye being too wide could not pass 
through the twists. 

The stitch should be twisted in the same direction as the twist 
of the working thread. 

To finish bring the point of the needle back to where it has been 
put in at first. 



Chain Stitch 




Fig. iG 



This stitch is sometimes used as an ornement. More often it 
is used to mark plain linen. 

Put the needle in on the wrong side to bring it out on the 
right side. Hold the thread under the left thumb and put the 
needle in the same place to bring it underneath at the required 
distance. It comes out in the loop of the thread forming thus a 
ring. Keep on putting the needle in always in the previous ring 
and quite near the place where it was brought out previously. 



Twisted chain Stitch 




■^"^^'"^■■ 




llG. 1 



This stitch is worked as phiin chain stitch, it is used as an 
ornament and is more decorative and not so common. 

^^'ork the stitch on an outline bringing the needle out on the 
right side. Hold the thread under the left thumb so as it forms 
L\ loop and put the needle in as is done for chain stitch where the 
last loop was made but outside and on the left of the latter. Bring 
out the needle in the loop of this thread and you ha\'e a twisted 
loop. 



Fancy chain Stitch 



•^j 




Fig. i! 



This stitch is a kind of chain stitch. The stitches are worked 
alternately on the right and on the left; the needle is put in slanting 
and the thread turned outwards so that the needle which is pur 
in a little under the previous loop forms a long loop. 

The illustration shows very plainly how the work should be 
done. 



— 14 



Loop Stitch 






bk 



iQ 



Loop stitch is sonicwliat like the different chain stitches and 
is worked in the same \\ay with the only difference that the loop 
is held down h}' a stitch ^^■(t^ked over its extremity. 

I'he illustration shows that it may be used fortiowers and foliage. 

it shows a flower being executed, three small leaves forming 
a shamrock and a stem. 



Coral or feather Stitch 





Fig. 20 

This stitch is worked somewhat like buttonholing, the thread 
should always be held down under the left thumb so as to form a 
loop on which the needle is passed. The working thread is turned 
towards the way where the needle is going to be put in. 

Put the needle in slanting. The width of the stitch, the way the 
needle is placed ma}' be changed as desired but thev should remain 
the same on the whole length of the work. The shape of this stitch 
depends of the way the needle is slanted and the place where it has 
been put in. They maybe modified easily. To work plain feather 
stitch, work alternateh' one stitch on the risht and one on the left. 



— I.-) — 



Double or treble feather Stitch 




Fic 



This stitch is worked in the same way as phiin feather stitch, 
but yoLi work two stitches towards the right and two toM'ards the 
left for double feather stitch ; three towards the right and three 
towards the left for treble feather stitch. 

The illustration shows plainly that the double and treble 
stitches should be worked at even distances on each side. 



Fancy loop Stitch 




j\J:::yy- 



.J-^-:. 



Fig. i: 



This stitch is somewhat similar to feather stitch and Plain 
loop stitch and can be worked in diilcrent sizes as shown in the 
illustration; the last stitch holds down the loop already formed. 
Bring the needle out on the left to put it in at the same height on 
the right and it comes out in the middle at some distance under- 
neath. 



16 - 



HEAVY EMBROIDERY 



Satin Stitch 

Satin stitch is real embroidery. It is worked over an outline 
with a padding or tilling in to give the work the relief needed. 

Straight or oblique stitches worked over the padding consti- 
tutes embroidery. When it is carefully worked with good cotton 
as the embroidery cotton Brillaiik' a la Ci^oix, Beautiful pieces of 
embroidery can be made. 

Dots worked in Satin Stitch 




Fig. 23 

These dots add a great deal to the beauty of embroidery but 
thev must be very carefully done and be perfectly round. 

So as to work perfect round dots, you should not when padding, 
cover the outlines as they are a guide to work evenly. 

We reproduce heavy dots and an eyelet worked half with satin 
stitch and half with cord like stitch, with an open worked centre 
while the following one is not open. 

Different ways of working dots 



V- : 










;xr ■■ ■. 


• Ay--, 


.-■■;•; ;?>^ 












'<■■•, ',' 












■ - 


! 

» 
) 



C 1) 

F'iG. 24 

- 17 — 



The dot A is worked in satin stitch, the fiUing in being a 
double cross stitch, ^^^hen embroidering follow the outline exactly. 

The dot B is also worked in satin stitch but filled in in a different 
wa}' : stitches are run from one side to the other but without 
reaching the outline. The embroidery is worked in the opposite 
way that the padding has been done ; so as to have a perfectly 
round dot put the needle in always on the outline of the drawing. 

The dot C is worked in satin stitch and surrounded by a back 
stitch. 

The dot D is surrounded b}' a stem stitch, while the dot E 
has a row of french knots around it. 

The dot F has its centre filled with rice stitches worked ver^■ 
evenly with a cord like stitch around it. 

In the top row shown in the illustration the dots are finished, 
under each of these the same dots are shown while being worked. 

Different ways of working Leaves 



The leaves can be worked round or pointed. When a pointed 
leaf should have a very fine point, after padding it, you should 
bring out the needle at the extreme point and put it into the 
material taking only one thread of the material ; keep on embroi- 
dering and the leaf is pointed at the extremity. 

The leaf A is tirst padded lengthwise, then covered over with 
close stitches worked from right to left. 

The leaf B is worked in straight satin stitch. 

A cord like stitch wider at the top is worked round the leaf G. 

Then satin stitch leaving the centi'e forms the leaf D. 

The leaf E has its centre filled with rice stitch with a cord 
like stitch around it : while the leaf F" is worked half with satin 
stitch and half with rice stitch and a cord like stitch around it. 

— 18 — 



Small or large leaves separated in two embroidered with satin 
stitch and rice stitch are always very effective in embroider}^ 

Flowers worked in flat Satin Stitch 



I 







Fig. 26 

Flat satin stitch is worked without any outline or padding; the 
stitch is the same as satin stitch. It si worked straight or sloped. 

Sometimes as is shown in the illustration the edge of the leaves 
only is embroidered to leave the middle free. In the middle 
forming the centre work rice stitches. 

Spray worked in Satin Stitch 















'*V ; .. ^- ■ .- 




. X. 


%■ '■; 








,,^^^^ 





Fig. 27 
— IQ — 



This spray shows small leaves and dots worked in satin stitch. 
The stems are overcasted. A stem and a leaf outlined and 
padded are shown, read}' to be embroidered. 



Initials 

To work initials properly it is necessary to baste them first straight 
on a firm lining : oil cloth, glazed calico or paper; then work the 
padding or filling in after having traced out the work (fig. 28 ., 




■ P'iG. 28 

Tracing out and padding well are two things absolutely neces- 
sary to obtain pretty embroidery. (See tracing out and filling in). 

Initials are padded with big long stitches, a few only where it 
should be fine, one above the other when high relief is desired 
and always thicker towards the middle. 

When the padding is very important, a sloped stitch is sent at 
the end which holds and tightens the long stitches. 

It is better to use the cotton which is employed for the embroi- 
dery, for a coarse cotton takes away from the handsome appea- 
rance of the work. The initial being well filled, begin embroidering 
with satin stitch. 






^ 


=^« 


f^h M 


- 


-rss^jacr '^^m 




^'s,-~\ J 




vs a 






~^; 





Monograms worked in satin stitch with open work and rice 
stitch, with the Colon a Broder Brillante a la Croix, CB n- 60. 




Embroideiy on net worked in satin stitch, cord like stitch and 
rice stitch with the Colon a Brodcr Rrillanle a la Croix, CB ;/" 20. 




'■^^^y ]l> 





Monograms worked in satin stitch witli open work stitches and 
rice stitch with the Colon a Broder Brillanli' a la Croix, CB ir 60. 



BUTTONHOLING 



The outline and filling in are done as we have explained 
before. 

It is not necessary to give further explanation on how^ button- 
holing is worked (see fig. 12). 

The pictures given here show very plainly also how to do the 
work. 

For scalloped buttonholing the stitches should be made longer 
or shorter according to the shape and the size of the scallops, 
however the stitches should always be equally tight. 

When reaching the points the stitches should be made shorter 
ver}^ carefull}^ so as to reduce them to almost nothing; work ver}' 
tightly at the extremity. 



Pointed scallops 




Fig. 2( 



When buttonholing pointed scallops it is necessarj- to tighten 
the stitches on the inside edge and leave a little more space on 
the outward edge. 

This is done so as to form the point which should be very 
neatly drawn. 

The way the stitches are slanted should also be noticed so 
that they are exactly straight at the point. 



2J — 



Round Scallops 




F'lG. ?o 



It is the easiest to work; the points should be well decreased. 



Fancy Scallops 




Fig. 3 [ 



It is a large scallop with small ones in between. 
Our illustration shows the working of a fancy round scallop 
buttonholing. 

This can also be made with pointed scallops. 



— 24 



\ ■, 



^ 



P k: 




€ 



»'\ 






/ \ 



•" ^• 



.-/ 



7 



\ f 



4 



) 




'In 







Satin stitch embroidery with rice stitch and open work, worl^ed 
with the Colon a Broder Brillaute a la Croix, CB «° 5o. 




Colbert embroidery worked for sheets and pillow cases, 
with the Colon a Broder Brillante a la Croix, CB n° 20. 



26 



Richelieu Embroidery 



Richelieu embroideiy is composed of buttonholing worked on 
a plain outline which follows the traced out design. 

With a few point lace stitches in the middle of the flowers or 
the pattern it is called Colbert embroidery. 

This kind of work is also done with bars of buttonholing. 
These bars are plain or with picots. 



A design for Richelieu Embroidery 




Fig. 32 



The buttonholing is worked always the same width. 

This kind of work is also done with bars of buttonholing. 
These are plain or with picots. 

The buttonholing is worked alwa3's the same width. The 
stitch should be turned on the side where the material wdll be 
cut out that is to sa}' outside of the drawing. 

It is onl}^ w^hen the work is finished that the material is cut out 
with great care. 

When there are bars to be done it is better to work them M'hile 
outlining and buttonholinir afterwards so that the latter will 
keep them tirmly fastened in their place. 

The bars which form the open work part are not taken into 
the material, the latter being cut out underneath. 











1/ 



••••••-. 












8 






• •. 



•' •- 







Eyelet work or madeira embroidery worked with 
the Colon a Broder Brillaulc a. la Croix^ C.B n" 40. 



— 28 — 



Eyelet Work 



Eyelet work very much in vogue now is ver}' easy to do. 
Wliilc satin stitch has to be perfect to be effective eyelet work will 
have a very prett}' effect in spite of its being far from perfeci. 

Eyelet work is made with a cord like stitch which follows an 
outline round the parts of the material which are cut out. 



Cord like Stitch Eyelet 




Fig. 33 

The leaves and ej^elets are worked in the same way : trace out 
the outline with small running stitches, then top sew the cut out 
edge with small stitches worked verey closely. \ 

For the small eyelets the styletto is sufficient to mark a round 
hole which you top sew afterwards ; but for the large eyelets or 
those worked in very fine material cut the material with pointed 
scissors and open it giving it a round shape with the styletto. 

Veiy large eyelets should be cut in the centre to form a cross, 
then put the material underneath all round using the needle. All 
that is to be done is to top sew the edge. 

When you have a row of eyelets close to each other to work, 
only trace out half of the rings passing from the upper pai't to the 
lower part. 

When coming back the outlines run in opposite directions 
which makes it stronger. 



— 29 



Shaded Eyelefs worked 
in Buttonholing and cord like Stitch 




Fig. 34 

By padding one half and only outlining the other half vou 
work shaded eyelets; thev can be made entiix'h' in buttonholing 
or half buttonholiniT, half cord like stitch. 



Leaves worked in cord like 

Stitch and Leaves worked in cord 

like and Satin Stitch 




\ y\v-> 



Fig. 35 

The leaves are worked exactl}' the same way as eyelets, cut 
always with the scissors but without cutting out an\- of the 
material ; slip it under with the needle and top sew. 

Shaded leaves are padded on one side and outlined onl^'Ton 
the other. 



A design for Eyelet work 



• 



# 



% 



# 



*«ii«fw^-:' 



.■,,te*<*«*'^* 






"■t^--"' ■ 



• 



W^^oi- 






• 



l''lG. JO 



The eyelets are opened with the styletto, the centre eyelet 
only is cut in the shape of a cross. The long leaves and the 
round leaves are cut with small scissors. 

On the outline work a cord like stitch or top sew very tight!}' 
but not enough to fra\- the material. 



I ''Urn 



0\0%'* 



0^m%0 



%0»*»%m 






^#%#%#%f%^%#%^%'%# 



,« 






•i' 
i 






Eyelet work done with 
the Colon a Brodcr Brillaiile a la Croix, CB [u'"' 35 or 40. 





Squares of eyelet embroidery worked with 
the CoUm a Brodev Bvillante a la Croix^ CB ;/° 2S. 



— 3-2 - 



Old fashioned Embroidery 



Old fashioned embroidery is very similar to eyelet work, it is 
always open work designs which you top sew but the edges are 
joined together by cord stitch bars. 



A design for old fashioned Embroidery 




Kk;. 3j 

Begin by outlining the design on one side; following the outline 
on the sec'ond side work the bars and finish them right away. 

Three threads are sent between the edges and come back over 
them to form a cord without taking the material under them. This 
brings you back to where you started from, and then continue the 
outline. Cut the material to work a cord like stitch as for eyelet work. 

The drawing shows part of the work when finished and also 
the work while being done for the bars and the cord like stitch. 

For old fashioned embroider}' use a rather coarse cotton. 

— 33 — 




'?i^ 












,7. .-sV'/'/^^X'^' •%. 



Tea cosy worked inold fashioned embroidery and eyelet work with 
the Colon a Brodcr BriUault' a la Croix, CB u° 25. 





sss^^ 


B • V T ■ , ' «•<»»» * . • 




fc^ % ••., .'-/-*. ,•*• ? 








;« 






K^w •.?'*'.^' "^/.^v" -;:•:-• 






P\ 


R^ %:" € •>•'*• ''I'*^ ♦ , *.'^ J 






1 


m V J . - ^ St* -v *-jr 


I 





Case worked in old fashioned embroidery and eyelet work with 
the Colon a Broder BrilLnilc a la (Jroix, CB ;i° 2S. 



34 - 



*,' ae '■■ • 




SB • S£ 








•1 ^^« V 

L 





I m 


■ i 


8 5 8 

ii 




1 " re 


11 


"Vs^s 


• 


• .- 


« \ 



f\ 


• 
• • 


t 


\ji ' iJ \ 




e & 




'• 


iSi& 


• 

• • 


• • 


-mi 


• 






• » # ~ 
%• ^# ••• 

V.' 



S6 




SI 1 




1 

1 




1 '^j 

1 @ 




s 1 



w 



V/^ 



\ / 



• •,' 






•m • 



• >^ 






A /.OfstOw^.C- 



'^••^vjr' 



^<^^ 



^y 



• ••• 



^ X 



^ X 



Squares of old fashioned embroidery and eyelet work done with 
the (Jolon a Broder Brillaulc a la (Iroix, CB n° 2S. 




Eyelet work made with 
the Colon a Brodcr Rrillaiitc a la C?'oix, (IB ii" 25. 



/ ^ 



V- 






/ ' ^^ \ 


- ' 






/ ' '^ 




,»-■' ■* 




V /. ' " V. - 





K 



' , \ V "t 

^\ . -/- * r ,. 



v' X-- 









V. 



Satin stitch embroidery with dots and open work worked with 
the Coton a Broder Brillante a la Croix. CB u° 3o. 



- 37 - 



1 <<■ 
























.' c 


1- 












r' " 


f 






X 


1 / 

i 4 




■ 


„iv^' 


.(!»-.-'■" -^ 




/■-•*••* 


****** ' ** 











Handkcrcliicf embroidered with satin stitch with 
the Colon a Broder Brillaute a la Croix, CB ;/' 6o. 



38 




Eyelet embroideiy worked with 
the Cotoii a Broder Bri Haute a la Croix, C-B ir 40. 



Colbert embroidery for sheets and pillow cases worked with 
the Colon a Broder BrilLvite j la Croix^ CB n" 20. 



— 40 





^^^^^^^^^HH^^^^^^^^^^^^^^^^^^^^F -"^'s^^^^^^^l 


|^^^^HH| 




^r ^>>^^[^^p^^ --"MM 


^^^^^^^^^^^H 


^^^^^^^^^^^^P^r '~~N^^ 




^^^^H 


^^^^^^^^^^^^^^^'.■' ~^ 


^^^^^^^k^ 


^^^^^H 


^^^^^^^'''~~' 


• ^^^^^^^^^^ 


• • N'^^^l 




^^^^^^^^^^^ 


* * * ]^^H 


^^^'' 


'^^^^^^^^^^^^^i^^^^^k 


• ^^^^^H 


^^^m ■ 


^^^^^^^^^^^^^^^^^^^^^^^^^^^ 


' fl^^^^^H 


HK ' f <'. 


^^^^^^^^^^^^^H 


"^'^^1 


I^^^H 


' ^^^^^^^^^^^^^^^^^^^^^H 


. ^^^^M 


■^BL 


' ^^^^^^^^^^^^^^^^^^^^^^^^^^^^H 


■ ^^^^^^^^H 


^^V ^ ~\ 


; ^^^^^^^^^^^^^^^^^^^^^H 


sT- """^^H 


^^ft 


l^^^m 




I^^^^^^VV "^ . 


^^^^^^^^^^w 


''- ■■ ^n 


^Hp^'""",^. 


'^^IqjjHpp^ 


,,^ ' ^ 


Hp 




•:: 1 


r ?♦» 




••t ^ 


L. • • * 




.^^^1 


^ • . , ?• 






■ 




^^^^H 


^^ ^- V' 




'--' J^^H 


■^^^hjjjk 






^^^^^^^^^^^^Hlli 


,^ 


' ^^^^^H 


^^^^^^^^^^"^ -■ 


•• •* ^^ -- 


'""'^^^l^^^^l 




« . # • -^ 


N ^ -^^m 




■ • ■ • ^ « 






# • • • , • • . • 


>. ^^^^^^^^1 

'^^^^^^^H 




.• • •• -A ' ^ 
-.^^ « • • • ^- *- ^ - 





Bib worked in eyelet work with 
the Coloji a Broder Bj^illaiite a la Croix ^ C-B n'' 40. 



41 



mts. 




\ \ \ 







/ / 



..'-\ 



^.o-*"* * 



\ .••• y' 



Handkerchief embroidered with satin stitch with 
the Colon a Brodcr Brillaiilt' a la C?'oix, CB ir 60. 



— 4^ 











oq 



QQ 






u 

:z; 



— 4^ 



Collar worked in c3Tlet work with 
the Colon a Brodcr Brillaule a la Croix, CB ii" 3S or 40. 



— 44 — 







^ 


^. 
















1 


■-' 


_ , :j; 




7A' 


VU j 


1 



















4 














\^' 


- 
















c 














vw' 




-,• .^_-- 














»~t- , 


















' ■-* • 






^ 






■ 


< , ■ 


C 


N^ 




K.,-^-^- 






V.-' 


Q 


w^ 




C- 




c 






T- 
















-***'"* 


















^^M 



Handkerchiefs worked in satin stitch with 
the Colon a Broder Brillaute a. la Croi.\\ C-B u° 5o. 



— 43 — 








!';?vT^^ 









Sprays embroidered in satin stitch with rice stitch and open 
work with the Coton a Broder Brillaulc a la Croix, C-B /z" 40. 



- 46 



z-^*. 






Collar for children worked in eyelet work and satin stitch with 
the Colon a Broder Brillautc a la Croix^ C-B n" 3o. 






47 — 



H 62 90 >j 




























■ V'^^v* \;^^V* *^o/^5^'>* V*^ 















►"^ ••:,:.' 














'r^*' A 






• u ^^ *'^ 











0^ o»-..'^o^ .^-^^ 




tVV* .v'^ 







a5°^ 














^^,"!^\/ %'^''%P> %^T^^\^^^ %^^. 




HECKMAN 

BINDERY INC. 

^^ JAN 90 

N. MANCHESTER. 

IKiniAMA AAQA9 



^^^%«= 




.."•• %, ,0^ oil-* ^o >^ ,.'' 



nV « • • . "^ 




